Warner Bros. officially announced that a director named Walter Brofsky would helm the latest DC superhero film, "Suicide Squad."
Choosing this moment to make the announcement likely reflected Warner Bros.' desire to show a tough stance, but it didn't affect Murphy much. After all, he wasn't dead set on directing "Wonder Woman."
Back home, he logged onto social media to check out Walter Brofsky. The name was unfamiliar.
However, Murphy wasn't surprised. There were many directors in Hollywood he didn't know, like Jon Favreau before "Iron Man." If it weren't for that film, many wouldn't know the chubby director.
Many low-profile directors in Hollywood have worked for years in the independent film scene or smaller circles like the ad industry before getting a chance at a big project.
Rumor had it that "Suicide Squad" might have a budget of $150 million. Bringing in such a director, despite a minor conflict with Warner Bros., suggested they weren't crazy and had their reasons.
Hollywood often sees relatively unknown directors helming big projects. To outsiders, these directors seem like geniuses, earning trust and appreciation from major studios right from the start.
But insiders know better.
These so-called unknown newbie directors are usually seasoned pros who just haven't directed a commercial blockbuster yet. Hollywood's commercial film system is robust, ensuring the film's quality won't suffer drastically due to one director's misstep. Moreover, these directors typically don't have final cut authority.
In such cases, influential individuals' support and recommendation play a crucial role.
Most Hollywood journeyman directors are versatile, capable of handling various genres, except for some special types like musicals and noir films. So, once carefully selected, a director is rarely deemed unsuitable.
For instance, if Ridley Scott were to direct a pure romance film, it wouldn't be terrible; it's just that his interests might not lie there.
Producers, art directors, and experienced editors are the project's real safeguards. Most directors of Hollywood blockbusters merely string the project together, sometimes only serving as on-set performance supervisors.
In typical Hollywood commercial productions, the director's importance is significantly diminished.
Take Kara Faith's reboot of "X-Men: First Class." The cast, Michael Fassbender and James McAvoy, were chosen by producer Kara Faith, and the script was written early on. Director Matthew Vaughn had no final cut authority.
Even in Kara Faith's other reboot, the "Alien" series now titled "Prometheus," director Ridley Scott had no final cut authority. Imagine that!
Ridley Scott is undoubtedly a top-tier director in Hollywood, but his power on set was minimized because his previous film flopped. In the commercial film industry, it's all about box office performance.
In these ordinary commercial productions, directors are just hired hands for the production company. If they don't comply, producers can replace them.
High-investment commercial films in Hollywood are creatively rigid, avoiding risks that might alienate audiences and lead to financial losses. Hence, these films often have similar structures.
Producers prefer not to hire directors like Murphy, who demand significant control and final cut rights. They can't afford one person's creative whims on a multimillion-dollar project.
On the flip side, would directors like Murphy be willing to endure such restrictions?
Not only are directors often unknown in major productions, but actors too are frequently unfamiliar or not famous enough to excite audiences.
Most of the budget goes into special effects, with minimal spending on directors and actors. Big-name directors and actors demand hefty fees and profit shares, leaving producers with smaller margins.
However, these unfamiliar directors are thoroughly vetted by the production companies. They might lack fame but are competent on set, often having backgrounds in advertising, photography, or B-movies. Many renowned directors have emerged from these fields, making them reliable choices for production companies.
The rising trend of ad directors helming A-list productions stems from their expertise in visual effects. Although their storytelling might be weak due to their ad background, the primary audience interest lies in spectacle and effects.
Thus, many top directors now also serve as producers on high-budget films or delegate this role to trusted associates. For instance, Murphy grooming Gal Gadot allows him more autonomy and revenue.
The high-risk combination of a top director, star actors, and massive budget has often led to companies' downfalls in Hollywood. Without substantial guarantees, production companies avoid such risky ventures.
Projects require evident profitability, such as those helmed by directors with numerous successful films like Murphy and Spielberg. Even if they don't break even at the box office, they can profit through ancillary revenues.
Hollywood films operate on an industrial scale, emphasizing standardized processes and risk management.
In standard high-cost, low-profile director combos, handing over to major studios results in similar visual effects. Even lesser-known directors under strict producer oversight won't drastically fail.
In these films, a talented director adds value, while any issues don't lead to complete disaster.
During the 2008 economic crisis, Murphy invested in several such films, like "Transformers 2," which were mainly of this type—popcorn flicks with relatively low risk.
In rare commercial films, production companies become cautious, avoiding easy investment decisions. These films require star writers and directors to ensure success.
Such films are generally original, posing higher risks.
Ultimately, it's all about controlling risk and cost.
Hollywood's stringent risk management is unimaginable to outsiders. Even Murphy's projects can't bypass thorough investment review processes.
This strict control applies even to seemingly unique projects.
"The Matrix" is a prime example.
When the Wachowskis, then brothers, pitched "The Matrix" script, producers dismissed it as unfilmable nonsense. After being rejected across Hollywood, they created a manga version with a friend's help to pitch more convincingly. This, coupled with self-funded short films, eventually convinced Warner Bros.' executives.
This illustrates two points: high perceived market risk and lack of reputation. If the script came from Murphy or Spielberg, the response would be different.
For top-tier and newcomer directors alike, Hollywood's standards vary greatly.
After checking Warner Bros.' director selection, Murphy resumed refining his script and plans for his new project.
Los Angeles, like New York, appears glamorous but harbors dark sides.
Darkness lurks beneath the surface, rarely exposing itself publicly.
In an ordinary warehouse in Old Chinatown, a group prepared their weapons, making final preparations for their mission. A photo of a man with scars and a determined expression hung on the wall before them.
"Look closely!" their leader said in awkward English, "This is our target!"
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